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Saturday, 22 October 2016

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Hollywood 'Mindhorn': Film Review | London Film Festival 2016:
Theater director Sean Foley's debut feature is a starry comic romp about a washed-up actor trying to relive his glory days.
Comedy brings together some unlikely bedfellows, as this debut feature by award-winning theater director Sean Foley proves. World premiering at the London Film Festival this week, Mindhorn boasts Ridley Scott and Steve Coogan among its executive producers. Coogan also plays a supporting role, while Kenneth Branagh and Simon Callow, who have both worked with Foley on stage, make brief cameos as themselves. But this agreeably absurd farce is primarily a vehicle for its co-writers and co-stars, Julian Barratt and Simon Farnaby, who have a long shared history, most notably on BBC television's surreal cult sitcom The Mighty Boosh.

Conveniently set on the Isle of Man, a popular shooting location thanks to its film-friendly tax incentives, Mindhorn stars Barratt as Richard Thorncroft, an actor who enjoyed brief fame in the 1980s playing a TV detective who fights criminals with a bionic eyepatch that can literally "see the truth." Think David Hasselhoff circa Knight Rider, but with an English accent and a Tom Selleck moustache. Brits will enjoy more local reference points, chiefly the vintage Jersey-set cop series Bergerac. Foley directs with a light and snappy touch, even when the jokes become strained. StudioCanal's U.K. release next spring should generate healthy numbers domestically, although the in-jokey British humor may prove a tougher sell internationally.

An arrogant, boozy womanizer at the peak of his fame, Thorncroft threw his TV career away with a hubristic bid for Hollywood success that went nowhere. Fast-forward 25 years and he is now a paunchy, balding, increasingly desperate washed-up actor living in poverty in London. Adding insult to injury, his glamorous ex-girlfriend and Mindhorn co-star Patricia Deville (Essie Davis) is now a highly successful TV reporter on the Isle of Man, and happily married to Thorncroft's former stunt double Clive Parnevik (Farnaby). Another minor character from the show, played by Coogan, has also built a business empire on the back of his own long-running spinoff series.

But fate hands Thorncroft a bizarre chance at redemption when a mentally unbalanced fugitive killer on the Isle of Man, Melly (Russell Tovey), contacts police officer DC Baines (Andrea Riseborough) and demands to negotiate with Mindhorn himself. Obsessed with the TV show since childhood, Melly has come to believe the fictional detective is real, and can help prove his innocence. Thorncroft arrives on the island in high spirits, hoping to boost his profile and rekindle his relationship with Patricia. Inevitably, his plans unravel as ancient grievances, bad habits and murderous subplots muddy the waters.

The first act of Mindhorn bounces along on the sheer silliness of its inspired premise, which feels like Galaxy Quest with an extra shot of English beta-male tragicomedy. But around the midway point, the script starts to flag a little, like a great satirical skit overstretched to feature length. Initially a spoof of clunky TV police thriller conventions, Foley's film ends up deploying them liberally in its latter half to inject a little labored suspense and contrived jeopardy. Both Coogan and Riseborough are disappointingly underused in thin minor roles, while Doctor Who veteran Tovey is simply too affably goofy to be plausible as a dangerous psychopath.

All the same, Mindhorn is never less than good fun. Barratt's world-weary, deadpan delivery anchors his performance in emotional truth, even in his most zany slapstick scenes, and he shares a strong comic chemistry with Farnaby. The spoof clips from the fake TV show are lovingly realized, from their scratchy VHS texture to their stiffly melodramatic tone and period-perfect sexism. A spinoff small-screen series would be a deliciously ironic touch. Credit also is due to the Isle of Man's majestically rugged coastal scenery, proudly playing itself after decades of standing in for more exotic locales. The eternal bridesmaid of movie locations finally gets its glorious day at the altar.

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Hollywood Movie The Table Review And Rating:
Four of Korea’s brightest actresses headline this talky, single-location drama that grapples with romantic dilemmas.
For anyone that found My Dinner With Andre lacking in variety of character, Korean indie darling Kim Jong-kwan’s latest verbose, estrogen-heavy drama, The Table, could be the ideal tonic. Unfolding over three separate days and one night, the film offers a peek inside four different women’s love lives at different stages of commitment as they grapple with their decisions. This is the kind of performance-focused film that underserved actresses covet, and for the most part writer-director Kim does the considerable cast justice. But it’s a featherweight as far as movies go, with little meat on its bones and mired in hackneyed subject matter. The Table is bound for festival play, and will work well in both niche (women’s, Asian) and broad spectrum events, but any exposure beyond that will be a stretch, though cable and download services could be a viable option.

Like Eric Khoo’s In the Room and countless others that have used a similar concept, The Table’s four episodes are linked by a single location, in this case a very specific one: a table in the window at what must be Seoul’s least busy coffee shop. In the first segment, a famous actress, Yu-jin (Jung Yu-mi, Train to Busan), meets up with a former boyfriend and quickly discovers he’s less interested in chatting about old times than in proving to colleagues that he once dated a famous actress. In the second, Kyung-jin (Jung Eun-chae, Nobody’s Daughter Hye-won) reconnects with an aimless man she only saw three times before he suddenly vanished to India, but for whom she harbors affection. In the weakest link, a wedding guest surrogate who will be known as “Kim Hee-nam” prepares to play mother to Eun-hee (Han Ye-ri, Haemoo), who’s planning a sham wedding for herself. The Table’s final encounter is at night, between Hye-gyeong (Lim Soo-jung, who burst onto the scene in 2003 with A Tale of Two Sisters), and her ex-boyfriend. She’s engaged to be married, but boldly suggests they have an affair, at least until her wedding day. He takes the high road and turns her down.

Though not officially an anthology, like an anthology The Table runs hot and cold — or perhaps cool and warm in this case, as there is neither a dreadful entry nor an astounding one. It’s wisely bookended by its strongest episodes, but limps through its middle with the curious reunion and the muddled wedding guest plots. Kim’s aim is to drop just enough clues and suggestions for us to piece together the puzzles of these relationships ourselves, but Kyung-jin’s fixation on an immature, flighty sweet-talker never rings true. Eun-hee’s wedding plot sets itself up to be more sinister (and therefore much more compelling), but its murky narrative takes the wind out of its sails.

But The Table is a “slice of life”-type story, and despite its conventional filmmaking (lots of soft focus close-ups), dearth of challenging situations (it’s still all about the guy?) and rampant heteronormalcy, Kim combines his penchant for putting women at the center of his stories (Worst Woman) with the structure of his multiple broken couples film Come, Closer, drawing some excellent work from his leads along the way. At the top of the heap is Jung, who balances disappointment with impatience as the star who slowly realizes how she’s being manipulated. Her growing exasperation is pitch-perfect. Lim is a close second as a woman unashamed to ask for her cake and to eat it, and then be adult enough to deal with the answer. There’s nothing new to be gleaned from The Table, but it’s nice to see some of the Korean film industry’s most underrated actresses in performances more significant than that of a pretty houseplant that cries.